By Alan Walker
The first quantity in Alan Walker's magisterial biography of Franz Liszt.
"You can not help yet continue turning the pages, pondering the way it will all prove: and Walker's collected readings of Liszt's tune need to be taken heavily indeed."―D. Kern Holoman, New York assessment of Books
"A conscientious student obsessed with his topic. Mr. Walker makes the guy and his age come to existence. those 3 volumes often is the definitive paintings to which all next Liszt biographies will aspire."―Harold C. Schonberg, Wall highway Journal
"What distinguishes Walker from Liszt's dozens of prior biographers is that he's both robust at the song and the lifestyles. an impressive musicologist with a full of life polemical type, he discusses the composer's works with larger realizing and readability than any prior biographer. And while many have recycled an analogous misguided, frequently destructive info, Walker has depended on his personal prodigious, globe-trotting study, a undertaking spanning twenty-five years. the result's a textured portrait of Liszt and his instances with out rival."―Elliot Ravetz, Time
"The prose is so full of life that the reader is frequently swept alongside by way of the narrative. . . . This three-part paintings . . . is now the definitive paintings on Liszt in English and belongs in all track collections."―Library Journal
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Additional info for Franz Liszt, Vol. 1: The Virtuoso Years, 1811-1847
Its manner was impeccable; but what of its matter? In fact, it contained a number of flaws, the full extent of which can best be gauged by looking at the fifteen pages of corrigenda prepared by the author’s son, Felix Raabe, who brought out a second edition in 1968. Without in any way wishing to denigrate Peter Raabe’s work, one must say that his biography gave very little evidence that for thirty-four years (1910–44) he was the director of the Liszt Museum in Weimar, and had unrestricted access to its treasures; its thousands of original documents were his to do with as he willed.
The anatomy of Liszt’s hand ~ the origin of the Transcendental and the Paganini Studies ~ Liszt’s expression marks and pedalling ~ his preference for Erard pianos; a letter of appreciation to Pierre Erard ~ Liszt’s interpretation of the classics. A Prodigal Returns to Hungary, 1839–1840 Liszt returns to Hungary ~ a triumphal reception awaits him in Pest ~ the search for Liszt’s “aristocratic descent” ~ he is presented with a “Sword of Honour” by leading Hungarian noblemen: his speech of acceptance ~ the ceremony is misunderstood beyond Hungary’s borders ~ Liszt takes up the pen against his critics ~ he raises money for a Hungarian National Conservatory of Music ~ he revisits the Franciscan monks in Pest ~ he receives the freedom of the city of Oedenburg ~ Liszt sees again his birthplace in Raiding ~ a visit to the Gypsies; he describes their encampment ~ the Hungarian Rhapsodies are born ~ the case of “Josi” Sárai, the Gypsy violinist.
Fétis (1837) R. Schumann’s Piano Compositions, opp. 5, 11, and 14 (1837) Paganini: A Necrology (1840) vol. 2 (ii): Letters of a Bachelor of Music (1835–40) 1–3. To George Sand 4. To Adolphe Pictet 5. To Louis de Ronchaud 6. By Lake Como (to Louis de Ronchaud) 7. La Scala (to M. Schlesinger) 8. To Heinrich Heine 9. To Lambert Massart 10. On the Position of Music in Italy (to M. Schlesinger) 11. St. Cecilia (to M. d’Ortigue) 12. To Hector Berlioz The essays which constitute both parts of volume 2 were later republished in their original French versions by Jean Chantavoine in his important book Pages romantiques (1912).